Penguin Guide to 1000 Finest Classical Recordings - Must-Have CDs and DVDs

joseph_li

LANGGAARD, Rued (1893–1952)
(i) Music of the Spheres. 4 Tone Pictures  《天体之音》与《四幅音画》
Chan. 9517. Sjöberg, DNRSO, Rozhdestvensky, (i) with Danish Nat. R. Ch.

Rued Langgaard was something of an outsider in Danish music and has been compared with such figures as Ives and Havergal Brian. Although his roots were firmly in the nineteenth century, his musical language is not wholly consistent (one of his later symphonies sounds almost Schumannesque). For much of his career he struggled to gain recognition as an organist and was eventually appointed to Ribe Cathedral in 1940. His music is not especially personal but, at the same time, it must be admitted that the main work recorded here is quite unlike anything else: indeed, the Music of the Spheres has a manic intensity which is compelling and on occasion quite disturbing. It was written in 1918 20 and lay neglected after its first performance until the 1960s, when a shortened version of it was recorded by the Stockholm Philharmonic under Blomstedt on EMI. This Chandos recording supersedes the later Danish recording, conducted by Frandsen, yet it still remains difficult to explain the impression it creates. The sonorities are ‘advanced’ for the period and include tone clusters and a piano struck directly on the strings; and skilful use is make of scraps of simple tunes that are repeated to almost hypnotic effect. Indeed, it is almost surrealistic in vision and its colouring (the dynamics are almost whispered) quite remarkable. The scoring is for two orchestras, one off-stage, with a soprano soloist. This is perhaps the best introduction to Langgaard’s music, for the symphonies – while certainly worth exploring – are highly variable in impact and content, though rarely less than interesting. The Four Tone Pictures, for voice and orchestra, are evocatively pleasing, and beautifully sung by Gitta-Maria Sjöberg, who also contributes superbly to The Music of the Spheres. Rozhdestvensky with his excellent Danish orchestra captures the spirit of the music admirably, and the Chandos recording is richly atmospheric.

鲁德·朗加德堪称丹麦音乐界的异数，常被与艾夫斯、哈弗格尔·布莱恩等特立独行之士相提并论。尽管其根基深植于十九世纪，其音乐语言却并不统一（其晚期某部交响曲甚至颇具舒曼风格）。作为管风琴师，他大半生郁郁不得志，直至1940年才受聘于里伯大教堂。他的音乐虽未形成强烈个人风格，但必须承认此处收录的主打作品《天体之音》具有无可比拟的独特性——这部创作于1918-20年间的作品散发着令人不安的癫狂强度，初演后湮没无闻，直到1960年代才由布隆姆施泰特指挥斯德哥尔摩爱乐为EMI录制缩编版。本版Chandos录音超越了后来弗兰森指挥的丹麦版，然而其营造的听觉体验仍难以言传：那些超前于时代的音响效果包含音簇、直接在钢琴琴弦上敲击等技法，碎片化的简单旋律通过重复制造出近乎催眠的效果。其超现实主义的音画构想与极致微妙的力度层次（几近耳语）令人惊叹。作品采用双乐团编制（一组置于台后）与女高音独唱，或为接触朗加德音乐的最佳入口——其交响曲虽不乏趣味，但质量参差不齐。《四幅音画》为人声与乐队而作，由吉塔-玛丽亚·舍贝格倾情演绎，她同样在《天体之音》中贡献绝妙演唱。罗日杰斯特文斯基率领丹麦顶尖乐团精准捕捉音乐精髓，Chandos录音更赋予作品浓郁的氛围感。
（源于DeepSeek翻译）


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Langgaard, Rued - Music of Spheres & Four Tone Poems - Gennady Rozhdestvensky, Danish National RSO, Sjöberg [Chandos]

joseph_li

LARROCHA, Alicia de (pianist)
The Art of Alicia de Larrocha
Decca (ADD) 473 813-2 (7)

Alicia de Larrocha was one of the great pianists of the twentieth century and her long career began in 1929, when she gave her first public concert at the age of six. While being especially famous for her performances of the Spanish repertoire, she was far from a specialist pianist, but embraced a wide repertoire and many of her classic recordings are found in this box set.

CD 1 includes her Bach recordings, and in this repertoire she is strikingly characterful. She does not apologize for using the piano by attempting to imitate harpsichord tone; she performs such a work as the Italian Concerto in pianistic terms. Her 14-minute Busoni arrangement of the Chaconne in D minor is especially impressive. In the Bach F minor Concerto Zinman’s robust accompaniments, rhythmically strong and alert, are matched by de Larrocha with her firm, clean articulation, and their partnership is eminently satisfying, particularly in the famous and beautiful slow movement, which is shaped with a cool, moving simplicity. In the recording of the Haydn Concerto which follows, she seeks to evoke the fortepiano in her crisp articulation. The outer movements are strongly characterized, and the rhythmic snap of the ‘gypsy’ finale is a joy. David Zinman’s accompaniment is excellent and the scale of the recording highly effective, the resonance giving breadth to the orchestral group.

CD 2 is devoted to recordings of the classical repertoire, and here we have a very stylish account of Mozart’s Sonata No. 11 in A major with some impressively characterized variations, and finishing with the famous Alla turca movement. The F minor Variations of Haydn are thoughtfully played and sensitively recorded, as is the rest of this CD, which includes a stylish account of Mozart’s Sonata No. 18, K.576, in which the slow movement is beautifully poised, memorable in every way, and the finale sparkles. In the Beethoven Bagatelles, de Larrocha displays her usual finesse, and her articulation in the faster pieces is exhilaratingly crisp and clean. Her playing is consistently polished and sympathetic, and each of these miniatures is surely characterized. If her performance of Mendelssohn’s Variations sérieuses isn’t quite on this level of inspiration, it is still enjoyably stylish, and the lively passages come off splendidly (though the 1970s sound isn’t quite of Decca’s vintage quality, unlike the rest of this CD).

CD 3 comprises her 1974 recording of Chopin’s 24 Preludes. Her highly poetic way with Chopin is also evident in the recording of the Second Piano Concerto, which is winningly played, with stylish accompaniments and in excellent sound.

The heart of de Larrocha’s performance of Schubert’s B flat major Sonata, which opens CD 4, lies in the slow movement, played introspectively and with great poetic feeling. Her poise and crisp articulation in the final two movements give much pleasure. Beautiful articulation is again the hallmark of the Impromptu which follows. The Liszt Piano Sonata receives a strong performance with many perceptive touches. Yet some might find her view just a little too idiosyncratic to be placed in the first flight.

Again, in the Schumann Fantasy which begins CD 5, some may find the performance rather too personal for a top recommendation, but there are so many good things in it, not least the excellent recording. Her bold approach works well in the Allegro and Romance, which again are beautifully played and recorded. In the Schumann Piano Concerto, both soloist and conductor are very relaxed indeed. It also has touches of wilfulness, as in the ritenuto before the recapitulation of the first movement. Poetry is certainly not absent: the exchanges between the piano and the woodwind soloists are beautifully done, but the lack of overall vitality becomes enervating in the finale, where the approach is spacious, but the basic tempo is too lazy to be convincing.

CD 6 is a delightful collection of lightweight Spanish keyboard music, played with such skill that even the slightest music never becomes chocolate-boxy. The eighteenth-century classicism of the Sonatas by Soler makes a splendid foil for the warmer romanticism of Isaac Albéniz and the vivid colours of Granados and Turina (all of them in classic recordings). The short Mompou piece is delightful and the Montsalvatge Sonatina para Yvette is no masterpiece but is entertaining and full of colour.

The final CD in the collection boasts one of the very finest of all recorded performances of Falla’s Nights in the Gardens of Spain. De Larrocha was on top form for this 1970 recording, to which she brought her customary poetry and vitality in this evocative score, and she received admirable support from Comissiona and the engineers. The Khachaturian Piano Concerto is a bit slack in the rhythm department in the first movement, but the slow movement, as interpreted by a Spanish pianist and conductor, sounds evocatively like Falla, and the finale too is infectiously idiomatic. The Ravel Piano Concerto for the Left Hand, which concludes CD 7, receives a memorable performance in every way, with the Decca engineers bringing out all the sparkle and drama of the playing of this highly individual score. All in all, this boxed set is a fine tribute to a musician who died only recently (in 2010).

艾丽西亚·德·拉罗查是二十世纪最伟大的钢琴家之一，其漫长的艺术生涯始于1929年——年仅六岁的她举办了首场公开音乐会。虽然以诠释西班牙曲目闻名遐迩，她却绝非局限型的演奏家。这套合辑收录的众多经典录音，展现了她宽广的曲目涉猎。

第一张CD收录的巴赫作品录音彰显其鲜明个性。她毫不刻意模仿羽管键琴音色来弱化钢琴特质，而是以纯粹的钢琴语言呈现《意大利协奏曲》等作品。尤为惊艳的是她演奏布索尼改编的《D小调恰空》，十四分钟的演绎令人叹服。在巴赫《F小调协奏曲》中，津曼指挥的伴奏雄浑有力、节奏精准，与拉罗查干净利落的触键相得益彰，尤其在著名慢板乐章里，二人以冷静克制的处理营造出感人至深的艺术效果。随后的海顿协奏曲录音中，她通过清脆的触键试图再现古钢琴神韵，末乐章吉普赛风格的节奏跃动令人陶醉。大卫·津曼的协奏堪称典范，录音的空间感赋予乐队层次分明的共鸣。

第二张CD聚焦古典时期作品。莫扎特《A大调第十一钢琴奏鸣曲》的演绎极具风范，变奏乐章刻画入微，终曲《土耳其进行曲》更是精彩绝伦。海顿《F小调变奏曲》的演奏与录音皆显深思熟虑，同碟收录的莫扎特《K.576第十八钢琴奏鸣曲》中，舒缓的慢板乐章令人过耳难忘，末乐章则闪耀着灵动光彩。在贝多芬《小品集》里，拉罗查展露其一贯的细腻技艺，快板乐章中那振奋人心的清晰触键尤为突出。尽管门德尔松《庄严变奏曲》的演绎稍逊灵感，但活泼段落仍显其优雅本色（虽1970年代的录音质量未达Decca黄金标准）。

第三张CD收录她1974年录制的肖邦《24首前奏曲》。其充满诗意的诠释风格在《第二钢琴协奏曲》录音中同样体现得淋漓尽致，搭配精致的协奏与出色的录音效果。

第四张CD开篇的舒伯特《降B大调奏鸣曲》核心在于慢板乐章——拉罗查以深邃内省的诗意呈现。末两个乐章中稳健的节奏把控与清脆的触键同样赏心悦目。随后的《即兴曲》再次展现其标志性的完美触键。李斯特《奏鸣曲》的演绎虽见解独到，但某些处理或许过于个人化而难称顶尖。

第五张CD中舒曼《幻想曲》的诠释同样存在争议，其高度个人化的风格可能影响权威推荐度，但精妙的录音效果与《快板》《浪漫曲》中大胆而优美的演奏仍具极高价值。在《钢琴协奏曲》中，独奏家与指挥家都显得过分松弛，第一乐章再现部前的突慢处理稍显任性。虽然钢琴与木管声部的对话充满诗意，但末乐章因整体活力不足而显得拖沓，宽松的速度处理欠缺说服力。

第六张CD汇集了轻快的西班牙键盘音乐精品。索勒奏鸣曲的十八世纪古典风格，与阿尔贝尼斯的热烈浪漫、格拉纳多斯与图里纳的绚烂色彩（均为经典录音版本）形成绝妙映衬。蒙波的短篇作品妙趣横生，蒙萨尔瓦特赫《伊薇特小奏鸣曲》虽非杰作，却充满缤纷色彩。

最后一张CD收录了史上最杰出的《西班牙花园之夜》录音之一。1970年录制时正值巅峰的拉罗查，为这部意境深远的作品注入标志性的诗意与活力，科米西奥纳指挥的协奏与录音工程同样出色。哈恰图良《钢琴协奏曲》第一乐章节奏稍显松散，但在西班牙艺术家演绎下，慢板乐章竟神奇地浮现出法雅式的韵味，末乐章也充满地道感染力。拉威尔《左手钢琴协奏曲》的演绎堪称典范，Decca录音团队完美捕捉了这部独特作品中的所有光彩与戏剧性。这套合辑，是对这位2010年辞世的音乐大师最好的致敬。（源于DeepSeek翻译）


https://115cdn.com/s/swwygcx3hq9?password=3377&#
Larroc, Alicia de  - The Art of Alicia de Larrocha [DECCA 7CD]等2个文件(夹)

原来的下载工具不能用以后，虽然找到了新的办法，但是不能自动获取完整的曲名，如果增加上去，整理起来实在太费时间和精力，没办法处理，只能自己想办法一一对照了。
顺带发一下Alicia de Larrocha的DECCA和EMI合集大包

通过网盘分享的文件：Alicia de Larrocha - Complete Decca Recordings 41CDs等2个文件
链接: https://***.com/s/1URh30YCwW3bcAn8g-lAMsA?pwd=3377 提取码: 3377

joseph_li

LECLAIR, Jean-Marie (1697–1764)
Violin Sonatas, Book 1/1–12
Naxos 8.57088 8(1–4); 8.570889 (5–8); 8.570890 (9–12) (available separately). Adrian Butterfield, Alison McGillivray, Lawrence Cummings

The music of Jean-Marie Leclair is underrated. Its merits are considerable, his lyricism has an appealing directness and charm and his Allegros are buoyant and spirited. He wrote well for the flute, but in the main he dedicated himself to the violin, for which he wrote 40 sonatas, and two sets of concertos, Opp. 7 and 10. In 1723 he came to Paris, where his first Book was published. The predominant influence in the music of the time was that of Corelli (whose works were readily available), yet Leclair’s native French style is never overwhelmed. However, the twelve Sonatas of Book 1 have tended to be neglected in favour of the later works – which, as these recordings show, is totally unjustified, for their invention is strong and fresh, and they happily combine Italian lyricism and melodic memorability with French elegance, but with the dance movements usually given Italian names. Featuring baroque violin, viola da gamba and harpsichord, the performances here are first class, full of life and spontaneous expressive feeling, and they are very well balanced and recorded. Let us hope the present team will also record the later Books.

让-马里·勒克莱尔的音乐被严重低估了。其作品价值非凡，抒情段落具有直击人心的质朴魅力，快板乐章则洋溢着轻盈跃动的生机。他虽为长笛创作过优秀作品，但主要致力于小提琴领域——谱写了40首奏鸣曲及作品7号与10号两组协奏曲。1723年他来到巴黎，在此出版的第一卷奏鸣曲集虽深受当时占主导地位的科雷利风格影响（其作品在巴黎广为流传），却始终保持着鲜明的法兰西特质。然而第一卷中的12首奏鸣曲长期遭受冷遇，人们更青睐其后期作品——这些录音证明此种偏见毫无道理：这些早期创作不仅构思新颖有力，更巧妙融合了意大利式的抒情旋律与法兰西的优雅风范（尽管舞曲乐章多采用意大利语命名）。本录音采用巴洛克小提琴、古大提琴与羽管键琴编制，演绎水准堪称一流，充满鲜活自然的艺术表现力，各声部平衡绝佳，录音效果出色。期待这支演奏团队能继续录制勒克莱尔后续作品集。
（源于DeepSeek翻译）


https://115cdn.com/s/swwyg0o3hq9?password=3377&#
Leclair, Jean-Marie - Violin Sonatas, Books 1-3 - Adrian Butterfield [Naxos]

joseph_li

LECOCQ, Alexandre (1832–1918)
Mam’zelle Angot 《安戈小姐》(ballet, arr. Gordon Jacob)
Australian Decca Eloquence 442 9048 (2). Nat. PO, Bonynge – HÉROLD: La Fille mal gardée

Mam’zelle Angot is a vivacious score with plenty of engaging tunes, neatly orchestrated in the modern French style. Richard Bonynge offers the first recording of the complete score, and its 39 minutes are consistently entertaining, especially with orchestral playing of such polish and wit. The Kingsway Hall recording is warm and vivid, bringing sharp detail and tangibility, especially at lower dynamic levels. A winner in every way, with an outstanding coupling to match.

《安戈小姐》是一部充满活力的音乐作品，蕴含大量迷人旋律，并以精致的现代法式配器手法呈现。理查德·波宁吉在此完成了该作品全本录音的首演，39分钟的演绎始终妙趣横生，尤其得益于乐团兼具精湛技艺与诙谐气质的演奏。金斯威大厅的录音效果既温暖又生动，在弱奏段落尤为细腻可感，细节刻画纤毫毕现。这张无可挑剔的唱片还配有与之相得益彰的杰出附加曲目。
（源于DeepSeek翻译）


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Lecocq, Alexandre - Mam'zelle Angot & Weber - Invitation To The Dance & Berlioz - Les Troyens - Richard Bonynge, National PO [DECCA]

joseph_li

LEHÁR, Franz (1870–1948)
Das Land des Lächelns (The Land of Smiles); The Merry Widow (Die lüstige Witwe (both complete in German) 《微笑王国》与《风流寡妇》
EMI mono 4 56385-2 (2) ( with bonus disc containing synopsis & libretto with translation via CD-ROM). Schwarzkopf, Gedda, Kunz, Loose, Kraus, Philh. Ch. & O, Ackermann

In her earlier, mono recording as Hanna Glawari in The Merry Widow Schwarzkopf has both sparkle and youthful vivacity, and the Viljalied – ecstatically drawn out – is unique. Some may be troubled that Kraus as Danilo sounds older than the Baron (Anton Niessner) but it is still a memorably characterful cast.

The Land of Smiles has a comparably glamorous roster, and if here Gedda does not have quite the passionate flair of Tauber in his famous Dein ist mein ganzes Herz, his artistry matches an effortless performance. Schwarzkopf and Kunz sing delectably, and the CD transfers are lively and full of presence. Dialogue is included, but separately cued.

在早先的单声道《风流寡妇》录音中，施瓦茨科普夫饰演的汉娜·格拉瓦里既光彩照人又充满青春活力，尤其那首被演绎得如痴如醉的《维利亚之歌》堪称绝唱。或许有人会觉得克劳斯饰演的达尼洛男爵听起来比安东·尼斯纳饰演的泽塔男爵更显年长，但这版阵容的角色塑造依然令人难忘。

《微笑王国》同样拥有璀璨的演员阵容——盖达虽不及陶贝尔在名曲《我心全属于你》中那般激情四溢，但其举重若轻的艺术表现力毫不逊色。施瓦茨科普夫与昆茨的演唱甜美动人，CD转录效果鲜活饱满。对白部分单独分段收录，便于选择。


The Merry Widow 《风流寡妇》(in English; complete, DVD version)
Opus Arte DVD OA 0836. Y. Kenny, Skovhus, Kirchschlager, Turay, San Francisco Op. Ch. & O, Kunzel (V/D: Gary Halvorson)
The Merry Widow (Die lustige Witwe; in German; complete, CD version)
EMI (ADD) 5 67370-2 (2). Schwarzkopf, Gedda, Waechter, Steffek, Knapp, Equiluz, Philh. Ch. and O, Matacic

It would be hard to imagine a more extravagant production of The Merry Widow than Lotfi Mansouri’s for the San Francisco Opera, recorded live on DVD in December 2001. Michael Yeargan’s sets faithfully echo the 1890s designs at Maxim’s in Paris, Thierry Bosquet’s costumes are comparably lavish, and the text is unusually full. The dialogue – with Christopher Hassall’s translation expanded by Ted and Deena Puffer – is wittier and truer to the Parisian atmosphere than the original German. Yvonne Kenny as the heroine not only sings beautifully but is both vivacious and provocative. Bo Skovhus makes a handsome Danilo, determined not to be putty in her hands, and their final reconciliation to the Merry Widow Waltz could not be more moving. Angelika Kirchschlager makes a charming Valencienne, opposite the Camille of Gregory Turay, with Carlo Hartmann as Baron Mirko, Valencienne’s husband, strong and characterful, relishing the humour.

Elisabeth Schwarzkopf was surely born to take the role of Hanna, and on CD in stereo Matačić again provides a magical set with a vivid sense of atmosphere, guaranteed to send shivers of delight through any listener. The new transfer certainly retains the full bloom of the original. However, the reissue, with an overall playing time of 79 minutes 40 seconds, is uneconomical, even at mid-price; it would surely have been possible to get the whole opera on a single disc (though it is obviously a case of quality over quantity!). The documentation cannot be faulted, with a full translation included.

洛菲·曼苏里为旧金山歌剧院打造的《风流寡妇》堪称极尽奢华的制作，2001年12月现场录制的DVD便是明证。迈克尔·耶尔甘的布景完美复刻了1890年代巴黎马克西姆餐厅的风貌，蒂埃里·博斯凯的戏服同样华美，剧本也更为完整。克里斯托弗·哈索尔英译、泰德与迪娜·普夫扩充的对白，比原版德语更机智传神地还原了巴黎风情。伊冯娜·肯尼饰演的女主角不仅唱腔优美，更兼具活泼与挑逗气质。波·斯科夫胡斯塑造的达尼洛英俊倨傲，决不甘心被她玩弄于股掌，二人最终借《风流寡妇圆舞曲》和解的场面感人至深。安吉莉卡·基尔施拉格饰演的瓦伦西纳与格雷戈里·图雷的卡米耶默契十足，卡洛·哈特曼演绎的米尔科男爵（瓦伦西纳丈夫）则充满戏剧张力，将幽默感拿捏得恰到好处。  

施瓦茨科普夫天生就是为汉娜一角而生——这版立体声录音中，马塔契奇再次以魔幻般的配乐营造出令人战栗的欢愉氛围。新版转录完好保留了原版的丰润音质。不过79分40秒的总时长即使以中价发行仍显不经济（显然品质重于容量！）。随附完整译文的内页说明无可挑剔。
（源于DeepSeek翻译）


DVD：
没找到

CD：
https://115cdn.com/s/swwyg2j3hq9?password=3377&#
Lehar, Franz - Das Land des Laechelns & Die lustige Witwe - Otto Ackermann, PO; Schwarzkopf, Loose, Gedda [Warner]等3个文件(夹)

joseph_li

LEIGH, Walter (1905–42)
(i) Agincourt Overture; (ii–iii) Concertino for Harpsichord & Strings; (ii) The Frogs: Overture & Dance; (i) Jolly Roger Overture; (ii) A Midsummer Night’s Dream: Suite for Small Orchestra. Music for String Orchestra
Lyrita (ADD) SRCD 289. (i) New Philh. O; (ii) LPO; Braithwaite; (iii) with Pinnock

Walter Leigh was a craftsman composer of the finest kind, one who aimed to make his music useful, hence his frequent essays in incidental music. His personal style remained very English, with frequent but gentle neoclassical overtones. His masterpiece remains his Harpsichord Concertino, a deliciously piquant score which had been recorded three times before this excellent Lyrita recording (though memories of Kathleen Long’s 78-r.p.m. recording, using a piano, are not erased). Pinnock’s sensitive performance is among the finest using harpsichord, though the balance of the solo instrument is rather close. Otherwise the recording is excellent, as are all the performances. A most worthwhile CD.

沃尔特·利是最杰出的匠人型作曲家之一，其创作始终以实用性为宗旨，因此创作了大量戏剧配乐作品。他的个人风格保持着鲜明的英国特质，常以含蓄的新古典主义笔触点缀。其代表作《羽管键琴小协奏曲》堪称妙趣横生的辛辣之作——在这张出色的Lyrita唱片问世前虽已有三个录音版本（但凯瑟琳·朗用钢琴演奏的78转唱片仍令人难忘），特雷沃·平诺克用羽管键琴演绎的细腻版本堪称最佳，尽管独奏乐器声部略显突出。除此之外，录音与演奏皆臻完美。这张极具价值的唱片值得珍藏。
（源于DeepSeek翻译）


https://115cdn.com/s/swwyguq3hq9?password=3377&#
Leigh, Walter - Concertino for Harpsichord & Works for Orchestra - Pinnock, Nicholas Braithwaite, LPO & New PO [Lyrita]

joseph_li

LEIGHTON, Kenneth (1929–88)
Symphony 2 (Sinfonia mistica); Te Deum laudamus
Chan. 10495. Fox, Nat. Ch. of Wales, BBC Nat. O of Wales, Hickox

This is a hauntingly compelling recording of some of Kenneth Leighton’s most inspired music. Written in the mid-1970s as a response to the death of his mother, the Sinfonia Mistica is, in the composer’s words, ‘a requiem or a meditation on the subject of death which usually becomes so more real to us in the second half of life’; yet this music is inspiring rather than depressing. It is music of a profoundly spiritual nature, and its six movements provide music of much imagination as well as musical logic. The texts are taken from the great metaphysical poets such as John Donne and George Herbert, and they are beautifully sung by Sarah Fox. The orchestral version of his magnificent Te Deum laudamus makes a fine bonus to an outstanding CD. The orchestra and chorus were inspired to great heights in this recording, and the sound itself is of demonstration quality.

这张唱片收录了肯尼斯·莱顿最具灵感的音乐作品，其动人魅力令人萦绕于心。创作于1970年代中期的《神秘交响曲》是作曲家为悼念亡母而作，用他自己的话说："这是一部安魂曲，或是对死亡主题的冥想——这个主题往往在人到中年后才变得真切"；然而这音乐非但不令人消沉，反而充满振奋人心的力量。作品具有深邃的精神内涵，六个乐章既充满想象力又符合严密的音乐逻辑。歌词选自理查德·赫伯特等玄学派诗人的杰作，由莎拉·福克斯倾情演绎。作为额外馈赠，唱片还收录了莱顿宏伟的《感恩赞》管弦乐版，为这张杰出唱片锦上添花。参与录制的乐团与合唱团展现出超凡水准，录音品质更是达到了示范级水平。
（源于DeepSeek翻译）


https://115cdn.com/s/swwyguo3hq9?password=3377&#
Leighton, Kenneth - Orchestra Works - Hickox, BBC National Orch. of Wales [CHANDOS]

joseph_li

LEONINUS, Magister (c. 1153–1201)
Organa: Alleluya. Non vos relinquam orphanos; Alleluya. Dulce lignum, dulces clavos; Alleluya. Spiritus Sanctus procedens; Alleluya. Paraclitus Spiritus Sanctus; Priusquam te formarem; Alleluya. Inter natos mulierum; Viderunt omnes fines terre; Alleluya. Dies sanctificatus illuxit nobis; Alleluya. Pascha nostrum immolatus est
Hyp. Helios CDH 55328. Red Byrd ( John Potter, Richard Wistreich), Capella Amsterdam

Over eight centuries have passed since the construction of the Cathedral of Notre Dame began and Leoninus, the cathedral’s composer, was composing this music. It is among the first to be successfully written down so that its pitch and melodic lines could be accurately determined. It is in two parts, with the top voice moving in unison or octaves, or over a sustained or sometimes moving second part. Sometimes both voices sing in unison. Much of the writing brings elaborate, rhapsodic melodic lines which are quite beautiful and haunting in these atmospheric, confident and extraordinarily convincing performances, which take us back to the very beginning of written music. Full texts, translations and good documentation, as we expect from Hyperion, make this a particularly precious reissue.

巴黎圣母院始建八百余年前，其御用作曲家莱奥南创作这些音乐时，正值西方音乐记谱法初现曙光的年代。这些作品是最早被成功记录下来的音乐之一，使得音高与旋律线得以准确留存。音乐采用二声部结构：高音声部以同度或八度行进，或悬浮于持续音（偶见流动音型）的第二声部之上，有时两声部则以齐唱呈现。多数段落中，那繁复狂想的旋律线条在这些极具氛围感、演绎笃定而令人叹服的表演中，展现出摄人心魄的美感，将我们带回书面音乐的最初源头。海伯龙唱片一贯的高标准制作——包含完整歌词、译文及详实解说——使这张再版唱片显得尤为珍贵。
（源于DeepSeek翻译）


https://115cdn.com/s/swwygum3hq9?password=3377&#
Leoninus, Magister - Magister Leoninus, Vol.1 - Cappella Amsterdam, Red Byrd [Hyperion Qobuz]等3个文件(夹)
Vol.1 有俄网自抓和Qobuz两个版本，可以对比一下到底有没有啥区别。

joseph_li

LE ROUX, Gaspard (c. 1660–1707)
Pièces de clavecin: Suites arranged for 2 Harpsichords 1–7
HM HMC 901660. Mitzi Meyerson (Taskin harpsichord, 1769) & Lisa Crawford (Goermans harpsichord after Raskin, 1764)

Little is known about Gaspard Le Roux except that his music was actually published (no commonplace occurrence for keyboard composers at the opening of the eighteenth century) and that he lived and taught in Paris and by 1769 was regarded as a ‘famous musicmaster’. Moreover, with his Pièces pour deux clavecins of 1705 he was one of the very first composers to publish music for two harpsichords. His seven Suites offer the usual collection of French dance movements, four in Nos. 2 and 6, seven in Nos. 1, 3, 5 and 7, three in No. 4, while No. 5 includes an impressive Chaconne. The music is attractively inventive and lively, but the two separate keyboard parts were not given to the players; rather, the composer gave some models for the would-be arranger to study at the end of the book so that he could create his own series of duets. In five cases there are basic second harpsichord parts provided, but as Lisa Crawford explains in her interesting notes, the other suites needed substantial changes to the written music in order to work in duet form. However, the problems which arose here have been resourcefully solved, using a variety of approaches, and playing on a pair of eighteenth-century harpsichords Lisa Crawford and Mitzi Meyerson provide here a stimulating and attractive set of duets with great aplomb. They are well recorded and the result is very enjoyable. This disc is a real find – well worth seeking out.

关于加斯帕尔·勒鲁的生平记载甚少，仅知他曾在巴黎生活并从事教学，其作品曾正式出版（这在18世纪初的键盘作曲家中实属罕见），至1769年已被誉为"著名音乐大师"。尤其值得注意的是，他1705年出版的《双羽管键琴曲集》使其成为最早为两架羽管键琴创作出版音乐的作曲家之一。他的七套组曲汇集了典型的法国舞曲乐章：第二、第六组曲各含四首，第一、三、五、七组曲各七首，第四组曲三首，其中第五组曲包含一首令人印象深刻的《恰空》。这些音乐充满引人入胜的创意与活力，但作曲家并未直接提供分谱，而是在曲集末尾为改编者提供范例参考，以便其创作二重奏版本。其中五部组曲配有基础第二羽管键琴声部，而正如丽莎·克劳福德在解说笔记中所述，其余组曲需对原谱进行实质性改编方能形成二重奏。演奏者以多种创新手法巧妙解决了这些难题——丽莎·克劳福德与米兹·迈耶森使用两架十八世纪羽管键琴，自信从容地呈现出一套既富启发性又极具魅力的二重奏作品。优质的录音效果令聆听体验格外愉悦，这张堪称珍品的唱片值得乐迷悉心寻觅。
（源于DeepSeek翻译）


https://115cdn.com/s/swwygua3hq9?password=3377&#
Le Roux, Gaspar - Pieces de Clavecin - Mitzi Meyerson, Lisa Crawford [HM]
访问码：3377

joseph_li

LIADOV, Anatol (1855–1914)
Baba-Yaga, Op. 56; The Enchanted Lake, Op. 62; From the Apocalypse, Op. 66; Kikimora, Op. 63; Mazurka: Village Scene by the Inn, Op. 19; Polonaise, Op. 49; 8 Russian Folksongs, Op. 58; Scherzo in D, Op. 16 《巴巴亚加》，Op.56；《魔湖》，Op.62；《来自启示录》，Op.66；《基基莫拉》，Op.63；《玛祖卡：小酒馆旁的乡村即景》，Op.19；《波罗乃兹》，Op.49；《八首俄罗斯民歌》，Op.58；《D大调谐谑曲》，Op.16
Chan. 9921. BBC PO, Sinaisky

The Enchanted Lake and Kikimora are wonderfully atmospheric, and the performances by Vassily Sinaisky and the BBC Philharmonic are pure magic. Although not the best known, a piece like From the Apocalypse is hardly less inspired. The Eight Russian Folksongs are especially attractive, with their splashes of local colour, and the dance pieces are equally colourful in their imaginative orchestral dress. The performances are matched by recording of equal richness and luminosity.

《魔湖》与《基基莫拉》散发着绝妙的神秘气息，瓦西里·辛奈斯基指挥BBC爱乐乐团演绎得如梦似幻。虽非最负盛名，《来自启示录》却同样充满灵感。《八首俄罗斯民歌》因浓郁的地方色彩而格外动人，舞曲作品在充满想象力的配器装点下同样绚丽多彩。演绎与录音相得益彰，既丰润又透亮。
（源于DeepSeek翻译）


https://115cdn.com/s/swwyp3p3hq9?password=3377&#
Lyadov, Anatoly -  Orchestral Works - Lyadov, Vassily Sinaisky, BBC PO [Chandos 24-96]

原文编号有误，正确的应该是 Chandos CHAN9911

joseph_li

LIPATTI, Dinu (piano)
EMI Icon - Dinu Lipatti
EMI Classics mono 207318 2 (7)

During his short life (1917–50) the great Romanian pianist attained a legendary standing, and the relatively few recordings he made have rarely been out of circulation. The present collection includes rarities such as the Third Sonata of Enescu, who incidentally was his godfather as well as sonata partner in wartime Bucharest, and some Brahms Waltzes recorded in 1937 with Nadia Boulanger, with whom he studied. Lipatti’s Chopin was in a class of its own and exhibits a chaste purity of style that is unique. This is to be found at its apogee in the last recital he gave in Besançon, only a few weeks before his death, and which is accommodated on the last of these CDs. A very special record.

这位伟大的罗马尼亚钢琴家虽英年早逝（1917-1950），却已成就传奇，其为数不多的录音从未被乐坛遗忘。本合集收录了珍贵曲目：既有战时布加勒斯特与教父兼奏鸣曲搭档埃内斯库合作的《第三奏鸣曲》，也有1937年与恩师娜迪亚·布朗热联袂录制的勃拉姆斯圆舞曲。李帕蒂演绎的肖邦独步天下，展现出至纯至净的独特风格——这种艺术境界在他去世前几周于贝桑松举行的最后独奏会中达到巅峰，相关录音收录于本套CD的末张。这是一份弥足珍贵的艺术文献。
（源于DeepSeek翻译）


https://115cdn.com/s/swwygup3hq9?password=3377&#
Lipatti, Dinu - EMI Icon [EMI 7CD]

joseph_li

今天一个都没卡，看来适合去买几张彩票。

到今天为止，历时近50天，刚好过半。

huzuoan

joseph_li 发表于 2025-7-16 12:50
今天一个都没卡，看来适合去买几张彩票。

到今天为止，历时近50天，刚好过半。

感谢楼主的辛勤付出，非常佩服你的毅力和韧性！

很不牛的俺

joseph_li 发表于 2025-7-16 12:50
今天一个都没卡，看来适合去买几张彩票。

到今天为止，历时近50天，刚好过半。

给您一个大大的赞~~仍然在努力爬楼中

您辛苦了！

很不牛的俺

好多都前所未闻~~开阔眼界了

wpx426

joseph_li 发表于 2025-7-16 12:19
LEHÁR, Franz (1870–1948)
Das Land des Lächelns (The Land of Smiles); The Merry Widow (Di ...

DVD没找到，来个蓝光的

通过百度网盘分享的文件：2-1 The Merry Widow - San Francisco...
链接：https://***.com/s/1wyV5SfkqqQ92ojO695jzAQ?pwd=e8ti

另外， Fleming的大都会英文版也很不错的

joseph_li

wpx426 发表于 2025-7-16 23:06
DVD没找到，来个蓝光的

通过百度网盘分享的文件：2-1 The Merry Widow - San Francisco...

感谢补充分享。

老兄居然可以把蓝光存度盘，厉害

joseph_li

LISZT, Franz (1811–86)
(i–ii) Piano Concertos 1–2; Fantasia on Themes from Beethoven’s ‘The Ruins of Athens’; Grand fantasie symphonique on Themes from Berlioz’s ‘Lélio’; Hungarian fantasia for Piano & Orchestra; Malédiction; Totentanz. (i) Ce qu’on entend sur la montagne; Die Ideale; Festklänge; 2 Episodes from Lenau’s ‘Faust’; Héroïde funèbre; Hamlet; Hungaria; Hunnenschlacht; Mazeppa; Mephisto Waltz 2; Orpheus; Les Préludes; Prometheus; Tasso; Von der Wiege bis zum Grabe; (i; iii) Dante Symphony; (i; iv) A Faust Symphony. (i–ii) Concert Paraphrases: SCHUBERT: Wanderer-Fantasie. WEBER: Polonaise brillante
EMI (ADD) 585573-2 (7). (i) Leipzig GO, Masur; (ii) Béroff; (iii) Leipzig Thomanerchor; (iv) Leipzig R. Ch., male voices

Liszt’s orchestral music gets a mixed response. Not everyone responds to his particular style, though undoubtedly his wildly romantic standpoint can be very exciting, and the best of it, by any standards, is remarkable. Masur’s comprehensive cycle of tone-poems, symphones and concertos is just about the best he has done for recorded music, and his survey, despite many superb individual recordings (notably from Karajan on DG and, recently, Noseda on Chandos), is the most comprehensive survey available.

Béroff has justly won acclaim for his superb technique and his refined poetic sense, and these recordings show him to be a Lisztian of flair. His accounts of the much-recorded Concertos can hold their own with most of the competition: these are exhilarating performances and are given the extra attraction of fine orchestral playing and vivid (late 1970s) sound. The same comments apply to the other piano concertante works: they are all superbly done, with ample brilliance, yet are musical and stylish, with a sense of fun in the virtuosic fireworks. As for the tone-poems, Masur makes the strongest possible case for them. He proves as persuasive an advocate as any on record. The rich sonority of the lower strings, the dark, perfectly blended woodwind tone and the fine internal balance of the Leipzig Gewandhaus Orchestra hold the listener’s attention throughout – for in the weaker pieces Liszt benefits from all the help his interpreters can give him. Only in Orpheus does Masur let us down: he breezes through it at record speed and misses the endearing gentleness that Beecham brought to it in the early 1960s. In the two Symphonies, Masur is again impressive, though even in the Gretchen movement of the Faust Symphony he moves things on, albeit not unacceptably, and there is no want of delicacy or ardour. The Faust Symphony can certainly hold its own, and the same may be said of the Dante Symphony. The recordings are well balanced and refined throughout, emerging more freshly than ever on CD. A very considerable achievement.

李斯特的管弦乐作品获得的评价褒贬不一。并非所有人都能接受他独特的风格，尽管他那狂放的浪漫主义立场确实令人振奋，且其中最出色的作品无论以何种标准衡量都堪称非凡。马舒尔对音诗、交响曲及协奏曲的完整录音系列堪称其唱片生涯的巅峰之作，尽管存在众多杰出的单张录音（尤其是DG唱片公司卡拉扬与近期Chandos唱片公司诺塞达的版本），他的这套全集仍是目前最全面的诠释。

贝罗夫凭借精湛技巧与细腻诗性赢得广泛赞誉，这些录音证明他是一位极具天赋的李斯特演绎者。他对那些被频繁录音的协奏曲的诠释足以与大多数竞争对手比肩：这些演绎充满激情，更因出色的乐队配合与鲜活（1970年代末）的录音效果而锦上添花。同样的评价也适用于其他钢琴与乐队作品：演奏兼具辉煌技巧与音乐性，在炫技段落中更透露出诙谐趣味。至于音诗作品，马舒尔给出了最具说服力的演绎，其诠释力堪比其他任何录音版本。莱比锡布商大厦管弦乐团低音弦乐的丰润共鸣、木管声部完美融合的暗色调以及精妙的声部平衡，始终牢牢抓住听者的注意力——因为在李斯特相对薄弱的作品中，演奏者的全力支持显得尤为重要。唯独在《奥菲欧》中马舒尔令人失望：他以破纪录的速度草率处理，全然缺失了比彻姆1960年代初赋予该曲的动人柔情。在两部交响曲中，马舒尔再次展现强大说服力，即便在《浮士德交响曲》"格蕾琴"乐章中也保持着流动感（虽尚可接受），且不失细腻与激情。《浮士德交响曲》的演绎绝对经得起推敲，《但丁交响曲》亦不逊色。整套录音的平衡性与精炼度始终如一，以CD载体焕发出前所未有的鲜活感。这无疑是项非凡成就。
（源于DeepSeek翻译）


https://115cdn.com/s/swwycf83hq9?password=3377&#
Liszt - Hungarian Rhapsodies Nos.2 & 5; Hungarian Fantasia; Mephisto Waltz - Karajan, BPO [DG]等3个文件(夹)

joseph_li

A Faust Symphony (DVD version)
EuroArts DVD 2072078. Riegel, Tanglewood Festival Ch., Boston SO, Bernstein (V/D: Humphrey Burton)

Bernstein conducts this riveting 1976 Boston performance, so thrillingly captured on DVD – and one of his very finest recordings, with all the added stimulus of live music-making, and splendidly photographed under the direction of Humphrey Burton. Bernstein seems to possess the ideal temperament for holding together grippingly the melodrama of the long first movement, taking it spaciously but building up the great excitement in the closing pages, while in the lovely Gretchen evocation he draws exquisite playing from the Boston Symphony Orchestra – both the woodwind and the strings in the many chamber-music passages. The Mephistofelean finale, with its anticipations of the orchestral wildness of Berlioz and the brass sonorities of Wagner, is held together superbly, with the tension building all the time, to be capped by the magnificent entry of the chorus, and sustained to the final profound apotheosis. Kenneth Riegel’s impressive tenor contribution to the CD version is surpassed by his ardent singing in this live performance, and the playing of the Boston orchestra is superb throughout, especially in the strings, helped in their sonority and radiance by the unsurpassed acoustic of Symphony Hall.

伯恩斯坦指挥的这场1976年波士顿现场演出令人屏息，DVD精彩捕捉了其震撼力——这堪称他最杰出的录音之一，现场演奏的额外激情与汉弗莱·伯顿执导的绝妙镜头相得益彰。伯恩斯坦似乎拥有完美禀赋，将漫长第一乐章的戏剧张力牢牢凝聚，以从容不迫的展开最终推向高潮；在优美的"格蕾琴"段落中，他引导波士顿交响乐团奏出精妙绝伦的音色——无论是木管还是弦乐在众多室内乐式段落中的表现。具有柏辽兹式管弦乐狂野与瓦格纳铜管音响预兆的"梅菲斯特"终章被完美统御，持续累积的张力在合唱团辉煌进入时达到顶峰，并延续至最终深邃的升华。肯尼斯·里格尔在CD版本中令人印象深刻的男高音演绎，被这场现场演出中更为炽热的演唱所超越，波士顿乐团全程展现顶级水准，尤其是弦乐声部在交响大厅无与伦比的声学环境中焕发出浑厚光泽。


Festklänge; Héroïde funèbre; Mazeppa; Prometheus (Symphonic Poems) 《节日之声》《英雄葬礼》《马捷帕》《普罗米修斯》（交响诗）
Chan. 10417. BBC PO, Noseda

For those not wishing to invest in Masur’s complete set of Liszt tone-poems, there are single-disc recommendations available. Alas, some classic accounts are currently deleted, most notably Karajan’s unsurpassed recordings on DG. However, Gianandrea Noseda has embarked on an impressive new series for Chandos, of which this excellent CD is typical. The highlight here is Mazeppa, one of Liszt’s very finest in the series alongside Orpheus and Les Préludes. While Karajan’s electrifying version is not surpassed (and probably never will be), Noseda and the BBC Philharmonic Orchestra give it plenty of life and vividly re-create the evocation of the horse galloping across the countryside with the eponymous hero strapped to its back. The other works aren’t quite so inspired but offer fine moments: Noseda is suitably exuberant in Fesklänge, a showily exciting work, and he catches the sombre atmosphere of the Héroïde funèbre eloquently. Prometheus is splendid in its melodrama and vivid incident. The BBC orchestra is again on its toes throughout and the Chandos recording is in the demonstration class.

对于不愿收藏马舒尔李斯特交响诗全集的乐迷，仍有单碟推荐可选。遗憾的是某些经典版本现已绝版，最突出者当属DG唱片公司卡拉扬的巅峰录音。不过詹安德烈亚·诺塞达为Chandos唱片开启的杰出新系列中，这张优质CD堪称代表。《马捷帕》作为与《奥菲欧》《前奏曲》并列的李斯特交响诗杰作，是本碟亮点。虽然卡拉扬令人颤栗的版本仍未被超越（或许永难超越），诺塞达与BBC爱乐乐团仍赋予其充沛活力，将主角绑缚马背驰骋荒野的场景生动再现。其余作品虽稍逊灵感却不乏精彩：诺塞达在炫技型作品《节日之声》中恰如其分地张扬欢腾，于《英雄葬礼》中精准捕捉肃穆氛围，《普罗米修斯》则以其戏剧性与鲜明情节取胜。BBC乐团始终保持着高度敏锐，Chandos的录音更属示范级水准。
（源于DeepSeek翻译）


DVD：
https://115cdn.com/s/swwy1ys3hq9?password=3377&#
Liszt - Faust Symphony - Leonard Bernstein, Boston SO [AVI]

CD：
https://115cdn.com/s/swwy1y43hq9?password=3377&#
Liszt - Faust Symphony - Leonard Bernstein, Boston SO [DG 24-96]等5个文件(夹)

joseph_li

Années de pèlerinage, 2nd Year (Italy) excerpts: Sposalizio; Il penseroso; Canzonetta del Salvator Rosa; Sonnetto del Petrarca 47; 104; 123. Supplement: Venezia e Napoli: Gondoliera. 2 Legends: St Francis of Assisi preaching to the birds; St Francis of Paola walking on the water
DG 477 9374. Kempff

There are many recommendable recordings of the Années de pèlerinage, including a fine complete set on DVD by Alfred Brendel (DG 073 41460). But in the early days of mono LP, Kempff made a famous record of some of the more memorable vignettes from the Second Year, adding the engaging Sposalizio and Gondoliera from the Supplement. Much of that same special choice he included in the present (1975) stereo programme. Out of the catalogue for a long time, it has recently returned as one of DG’s ‘Originals’ and shows that Kempff lost none of his magic and poetry in the intervening years. Few listeners will fail to respond to these evocative and masterly performances, not least the pair of Legends with their delightful evocations of birdsong and Saint Francis walking on the water. The recording is excellent and this is a truly treasurable reissue.

《巡礼之年》的推荐录音版本众多，其中包括阿尔弗雷德·布伦德尔在DG的优质全集DVD（编号073 41460）。而在单声道黑胶早期，肯普夫曾为《第二年》中若干最令人难忘的小品录制过传奇唱片，并增录了补遗部分迷人的《婚礼》与《贡多拉之歌》。他在1975年立体声版本中基本保留了这一独特选曲。这套绝版多年的录音近期作为DG"原版大师"系列重见天日，证明肯普夫在此期间丝毫未减其魔力与诗性。鲜有听者能抗拒这些极具画面感的精湛演绎，尤其是两首《传奇曲》中欢快的鸟鸣与圣弗朗西斯踏浪而行的精妙刻画。录音效果极佳，实为值得珍藏的再版。


Hungarian Rhapsodies 2, 6, 8 (Capriccio); 9 (Carnival in Pest); 10 (Préludio); 12–14; 15 (Rákóczy)
EMI Masters (ADD) 6 31789-2. Cziffra

As can be heard in the most famous C sharp minor Rhapsody (No. 2), Cziffra’s reckless impulsiveness is matched by his breathtaking bravura in the closing section. It was an excellent idea to issue this selection from his deleted complete set (from the 1970s), as the recording has fine realism and presence and he was one of the great piano virtuosi of his time.

从最著名的《升C小调第二狂想曲》中可闻，齐夫拉的鲁莽冲动与其在尾声段落令人屏息的炫技相得益彰。从他1970年代已绝版的全集中精选出版堪称明智之举——这些录音具有出色的真实感与临场感，而他也确是当代最伟大的钢琴炫技大师之一。


Piano Sonata in B min.; En rêve; 4 Little Piano Pieces; La lugubre gondola; Nuages gris (Trübe Wolken); Richard Wagner – Venezia; Schlaflos, Frage und Antwort; Unstern! Sinistre, disastro
HM HMC 901845. Lewis

Paul Lewis’s version of the Liszt Sonata stands out, even among the many dozens of rival recordings, for its power and clarity, enhanced by full, immediate sound. Lewis, with masterly control, brings out the structural strength. For coupling he has an illuminating group of late pieces, including two written for Wagner, not just La lugubre gondola (in the second and the more extended version) but R.W. – Venezia, building up powerfully over the briefest span. Also two pieces, Nuages gris and Unstern!, which find the composer at his most adventurous.

保罗·刘易斯演绎的李斯特《奏鸣曲》即便在数十个竞争版本中仍以力量与清晰度脱颖而出，饱满直接的音效更添光彩。凭借大师级的控制力，他充分展现了作品的结构张力。作为搭配曲目，他选择了一组极具启示性的晚期作品：包括为瓦格纳创作的两首——不仅有《忧郁贡多拉》（第二版及更扩展的版本），还有在极短篇幅内积蓄力量的《R.W.-威尼斯》；另有《灰色云朵》与《厄运！》这两首展现作曲家最大胆探索的作品。
（源于DeepSeek翻译）


DVD：
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Liszt - Annees de perelinage - Alfred Brendel DVD5]

CD：
https://115cdn.com/s/swwy1y83hq9?password=3377&#
Liszt - 10 Hungarian Rhapsodies - Gyorgy Cziffra [EMI]等7个文件(夹)